The Monorail -------------------------------------------
Only goes one way
The tracks run off into the horizon
At the end there is a bleak dark hole
The monorail laughs
His thoughts go on past the station
Breaking the barrier, he hears a pop
He pierces through time and motion
Below the glass floors of the first class seating, you watch the landscapes shift
From red dirt to red clay
Dust to farberware
Tall grass, their tips dipped in wheat colored paint
Echo as they toss and turn like the fur of a cat rubbed backwards
The lands arch their shoulders and twist this way
You can hear their spines crack that way
Silver topped iron roadways lay flat on plains of rural towns
There are no in habitants
Only dust and mutated forms of the elderly
Men with sores and sagging flesh
This place exists in the exhaust of the monorail
What is red? Read?
What suggests direction?
Why should you always carry a watch when crossing the desert?
This is a simple one and the monorail smiles
He knows of blooming petals with thorny stems
He knows of a singing season
I'm working under the idea that the "monorail" in this is referring to a person (though the classification of "nature" could mean that you're dealing more with philosophical/non-human subjects). When I read "monorail" I think of the vehicle that traverses the monorail (who wouldn't?). Also under the note that I'm just going to do a simple bit of feedback.
Whatever the monorail is, the fact that it only goes one way suggests that the monorail is stubborn, stuck in its ways (which I guess is stubborness), or somehow not prone to thinking, more toward just going.
The monorail laughing and continuing forward could suggest an arrogance that the hole over the horizon isn't dangerous to it, or could suggest that the monorail wants to die, or just doesn't care.
About here I lose ability to come up with an interpretation (failure on my part, perhaps). I lean toward the idea that the hole from the second stanza is intended to be a black hole and this stanza references the idea that black holes lead to other galaxies/timelines/etc.
Not really sure, could just be a metaphorical situation.
In this stanza you switch from a third-person perspective of the monorail to a second-person perspective of what we see. Unless it's terribly important, I suggest removing the second-person perspective, "Below the glass floors of the first class seating the landscapes shift".
I fail to find any symbolic significance to any of the changes. While it seems unintended, "red clay" makes me think of Georgia (because of "Gone With the Wind"). Dust to farberware was confusing.
I read this stanza as mostly imagery with little meaning individually, but as a whole representing change (literal or in the monorail's perspective/situation). If there's more to this part, I'm not catching on.
The second line, "in habitants" seems like a typo of "inhabitants", but it's such an obvious typo that I don't believe it is one. I fail to see a use in spacing the word though.
The imagery in this stanza reads with a bit more negativity. As the place "exists in the exhaust of the monorail" we could read it as the monorail person/metaphor is highly negative, almost like a poison to all it encounters, thus the damaged and suffering things left in its wake.
This one, I'm at a loss. It feels as if it were thrown in there. I know I'm in the habit of writing a word then placing a homophone almost immediately after it in things I write. I usually end up removing them as they don't have much meaning beyond my mind demanding the note of the homophone. That may not be the case here, but...
So these can either be philosophical questions, personal questions to oneself, to the reader, from the monorail, to the monorail, or simply meaningless. This and the seventh stanza both only seem important when we get to the eigth stanza.
More or less the same as the thoughts on the sixth stanza. Though this (and the sixth stanza) could be a case of allusions to things I'm not catching onto (movies, books, etc. I haven't seen/heard/read).
The first line in this stanza seems to be referring to the questions (or one of them) in the sixth and seventh stanzas. The monorail is all-knowing (or very knowledgeable) it takes a simple pleasure in the simple questions.
The second line could refer to a negative lover, or something that I, again, am not keen on. I only know that it suggests the (cliché) rose idea/saying where beauty comes at a painful price.
The third line I'm less sure of. When I read the term "singing season" I think of a time pleasant enough to sing about. But I suppose it could also refer to a real season (I doubt it), but I would not know which based on that line (if it is actually a season reference, I'd lean toward Fall or Winter as I think of them as windy and the wind can be thought of as singing).
Here the monorail is shown to be cold-hearted.
Or the monorail is shown to have a short lifespan, one go and at the end it never goes again.
I'm really not sure.
While I'm probably off, I at least can see the imagery well enough to appreciate that aspect. You successfully created a landscape/image in my head that I can appreciate without having to use a lot of words or imagery. I view that as a positive ability.
The more esoteric sense of it leaves me unsure of its meaning, if any, and thus I can only go on my own view which remains uncertain. Leaving me unable to appreciate a coherent message or thought if one exists in this poem. Being a fan of just writing to create things that sound good, I can view this with a neutral mindset. Knowing some people read things with a desire for it to have meaning (and I think you intend this to have meaning), I must say I don't know truly if the message gets across. Unless my interpretation is correct, in which case, nevermind.
Finally, I appreciate your growing use of better grammar and (what seems to be) elimination of typos. I'm still not sure if the spacing of inhabitants is intentional anymore than I can find a purpose to it if it is.